The Future of Performer Training in the 21st Century

November, 2016

 

Two-day symposium at Coventry University that will interrogate the future of performer training, specifically within Higher Education. The focus will be on theatre and dance training and education. 

Key practitioners and academics will provide some unique perspectives on the relationship between different forms of practice, theatre making and performer training, and on the rationales and purposes that might underpin such practices.

There will be opportunities to be involved before, during and after the event at Coventry – the aim of the event is to provoke action, collaboration, connection and change. We are looking to see what we might need to do in order to enable performer training to best respond to the challenges of the future.

 

Contributors:

Paul Kleiman, HE Senior Consultant and Visiting Professor

Scott Graham, Artistic Director, Frantic Assembly

Kristine Landon-Smith, Director & Educator

Josette Bushell-Mingo, Artistic director for The Swedish National Touring Theatre

Jonathan Pitches, Professor of Theatre and Performance, University of Leeds

Simon Murray, Senior Lecturer Theatre Studies, University of Glasgow


VASTA 2016 Conference Paper: Intracultural Theatre Practice, Chicago 2016

 

Kristine Landon-Smith and Melissa Agnew conducted a workshop in Sydney on the afternoon of February 20, in which we examined a single aspect or instance of intracultural theatre practice and its effect on the voice. We invited two actors of diasporic heritage, (one with a Hong Kong heritage and the other with Sri Lankan, Austrian and Indian heritage) to participate in this workshop/laboratory. They each selected and memorised a classical speech as preparation for the session. The exercise that Kristine took the actors through in a 90-minute workshop provides a snapshot of the methodology in action.The paper was presented at VASTA 2016, Chicago. Publication pending.


VASTA 2015 Conference

August 2-5 2015 - Montréal, Canada.

The theme for VASTA’s (Voice and Speech Trainers Association) 2015 conference in Montréal, Québec, Canada is “Cirque des Voix/Circus of Voices”—with the meanings of both circle and circus. The conference will feature a variety of languages and cultures, and in the spirit of Cirque du Soleil—one ring, many voices.

Cirque des Voix/Circus of Voices will bring together voice professionals from all over the world to experience vocal play, wonder, and joy amidst the cultural riches of Montréal.  The conference will provide opportunities for a diverse range of presentations. 

Dr Melissa and Agnew and Kristine Landon-Smith will present a case study on "encouraging the individual voice" in rehearsal for Samson at The Belvoir Theatre, Sydney, March 2014. 

Publication: The Whole of Humanity: Voice and Intracultural Theatre Practice  http://www.tandfonline.com/doi/full/10.1080/23268263.2016.1211429


ADSA Conference 2015, Sydney, Australia

University of Sydney, 23-26 June 2015

The ADSA Conference in 2015 will be ‘Revisiting The Player’s Passion: the Science(s) of Acting in 2015’, 23-26 June 2015, at the University of Sydney. 

I will be presenting my paper, 'Intracultural Approaches to Acting' 

It is possible to imagine and perform a multiracial society, a society where differences are honoured. If the students of this generation are to make a difference, that difference will be defined, in part, in terms of opposition or resistance to acceptance of the representations and interpretations of the racial order and the colour line that circulate in the mass media and the majority of social science writings. This resistance, in turn, will be shaped by how we read, write, perform, and critique culture.

Denzin.N, 2003.p.xiii

My paper shares my research on intracultural actor training.  It is research by practice with the aim of creating a rehearsal praxis, which can utilise the cultural context of the performer in the production of text based realism and other applications. It is my contention that many training environments and rehearsal rooms ignore and disavow rather than engage with the cultural context of the actor. The remit of my practice as research is to examine the causes and impact of this phenomenon and to offer a methodology that addresses this issue and actively plays with culture as a key tool in actor training and rehearsal room practices.

My methodology speaks to the multiracial society that Denzin imagines and ventures to realise this by giving practitioners the tools to perform a multiracial dynamic, where differences are acknowledged and utilised and are key to crafting work for performance. As such it can be seen as an intervention that seeks to break through “sedimented meanings and normative traditions” (Conquergood.D, 1998. p32) and my paper examines the traditions I break with in order to apply intracultural practice in the realisation of work for performance.

More info at http://www.adsa.edu.au/conferences/next-conference/


Key note speech for Theatre Network NSW

14th May 2015, Bankstown Arts Centre, 5 Olympic Pde, Bankstown

"Supporting Diversity"

Kristine will be joined by Sonny Dallas Law (Blaklines), Rosie Dennis (Urban Theatre Projects), Micehlle Kotevski (Riverside Theatre), Annett shun Wa (Performance4a), Liza Mare Syron (Moogahlin) and Karen Therese (Powerhouse Youth Theatre) for this urgent conversation. 


Audience Activations

From the Australian Theatre Forum 2011: the panel entitled Audience Activations. The speaker in this clip is Kristine Landon-Smith, Artistic Director of Tamasha in the UK.

Responding to audience demand for more connection, for the more experiential -- artists and companies are experimenting with new modes of engagement that have the capacity to deepen and re-imagine relationships between artists and audiences.


Doing intracultural theatre, observations on the practice, by Andrea Milde

Andrea Milde is a rehearsal researcher and applied linguist at the interface of spoken communication and the arts, with expertise in the field of conversations in rehearsals, performance and other artistic creative processes, she observed Tamasha's particular intracultural practice.

Doing intracultural theatre ->


Doing Intracultural Theatre (Phase 2)

Observations of the practice - In Rehearsals for the Arrival

"Play with Cultures" is a short documentary film about Kristine Landon-Smith's intracultural theatre practice. Andrea Milde was commissioned by Tamasha to document Kristine's practice during the rehearsal period of The Arrival (2013). Andrea has been researching rehearsals for many years, and has developed a unique approach to investigating rehearsals (www.linguistics-in-drama.com)."Play with Cultures" is a short documentary film about Kristine Landon-Smith's intracultural theatre practice. Andrea Milde was commissioned by Tamasha to document Kristine's practice during the rehearsal period of The Arrival (2013). Andrea has been researching rehearsals for many years, and has developed a unique approach to investigating rehearsals (www.linguistics-in-drama.com).


KULTOUR

2013

Chosen as one of nineteen artists around Australia working with diverse practices in diverse communities, to participate in the KULTOUR 2013 Artist laboratory (KG2013), followed by a forum produced by Kultour: Right Here/Right Now The KG2013 Laboratory brought a “cohort of 19 artists from around the country – 2 from each State and Territory” and 6 provocateurs together “to participate in a 48-hour laboratory intensive focusing on re-visioning and testing their creative concepts whilst sharing and investigating their artistic processes”. Right Here / Right Now! was an open forum that followed the Laboratory where practitioners and arts administrators could gather to interrogate “language and labels, contexts and concepts, frameworks and futures, options and opportunities, perceptions and presentation”.

Teresa Crea, co-founder of Australia's first bilingual theatre company - Doppio Teatro, opened Right Here / Right Now! with an exploration of the term “multiculturalism” and its historical context in Australia in the development of the new, culturally diverse voice within the Australian arts sector”, delivered the moving keynote address – sharing the story of his incredible life and practise. William summed up by explaining the importance for everyone to tell their own unique stories “so we can get to know who we are”. The 19 artists that participated in the 48 hours of the KG 2013 Laboratory then gave short presentations. Through speech, images, dance and music all the artists from diverse cultural and artistic backgrounds shared reflections and learning’s.

 http://www.kultour.com.au/


Accelerate

2013

Delivery of Key note speech for the Accelerate Program 2013 ACCELERATE is a tailored leadership initiative for talented Aboriginal and Torres Strait Islander people working in the creative industries.

http://www.britishcouncil.org.au/art/accelerate